Nimble feet, myriad expressions
Quick footwork and eloquent abhinaya marked the performances at the Pollachi dance festival.
Swathi Purushottaman gave a pleasing Bharatanatyam performance under the skilful nattuvangam of guru Padmini Dorairajan during the annual dance festival recently organised by Pollachi Thamizhisai Sangam at Mahatma Gandhi Mandapam, Pollachi.
Beginning with the alarippu in Arabhi, she presented ``Sri Ganesha Charanam'' in Thilang.
Sri Dhandayuthapani Pillai's varnam in Poorvikalyani, ``Samiyai Varachcholladi'' was impressive. ``Chinnanjiru Kiliye'' by Bharathiar, ``Ododi Vandhen Kanna'' by Ambujam Krishna and the tillana in Kadanakuthuhalam by Balamuralikrishna were well received by the spectators.
Excellent vocal support by Bhavani Kishore Kumar enhanced the effect. L. Nagaraju deftly wielded the bow and Sakthivel took care of the laya.
``Nandanar Charithram," a ballet by Sheela Unnikrishnan of Sridevi Nrityalaya (Chennai), was reflected the devotional fervour. The dancers vividly portrayed Nandanar's passionate bhakti of Nandanar. The committed team comprised Rajeswari and Kalyani (vocal support), L. Nagaraju (violin), Nagai Narayanan (mridangam), Harini (keyboard) and Parthasarathi (special effects).
Sindhu Shyam Ganesh, a disciple of Chitra Visweswaran, began with ``Ananda Narthana Ganapathim'' by Uthukkadu Venkatasubbaiyer. ``Sakhiye,'' varnam by Thanjai Naalvar, brought out her involvement and enjoyment in dancing. ``Harihara Suthane Aiyappa'' by Periasamy Thooran, ``Chinna Chinna Padam'' by Ambujam Krishna and the thillana by Madurai T.
Srinivasan were performed with nimble footwork and eloquent abhinaya.
Murali Parthasarathy (vocal support), Anirudh (nattuvangam), Sakthivel (mridangam) and Muruganadam (violin) rendered excellent support.
A. P. Nivedta Nair
C. H. Manju Hemamalini, a disciple of Vempatti Chinna Satyam, presented traditional Kuchipudi. Her `tarangam' (dance on a brass plate) was the highlight of her programme and she certainly deserved her title `Tharanga Hema'.
Sumithra Subramaniam, daughter and disciple of Jayanthi Subramaniam, gave a creditable account of herself as a dancer.
``Thandai Muzhanga'' by Madurai Sethuraman, ``Devar Munivar Paniyum Padhan,'' a varnam by Lalgudi Jayaraman, ``Netrandhi Nerathile,'' a padam and the thalaattu in Neelambari by K. Sainath were appealing.
K. Harini PHOTOS: M. Balaji.
Her portrayal of ``Ahalya Shapa Vimochanam," ``Gajendra Moksham'' and the thalaattu deserve special mention. Nattuvangam was by Jayanthi Subramaniam while vocal support was given by Murali Parthasarathi.
A. P. Nivedta (sic) Nair and K. Harini, disciples of guru P. Ramadevi danced with gay abandon maintaining the tempo throughout their programme.
Their sculpturesque poses and nimble and intricate jathis, typical of the Kuchipudi, thrilled the spectators.
Beginning their recital with ``Mamavathu Sri Saraswathi," by Mysore Vasudevachar in Hindolam, the duo proceeded with an Annamacharya's kriti. Nivedta danced for ``Shankara Srigirinatha Prabho'' by Swathi Tirunal, with lively steps and abhinaya.
The two of them danced the tarangam describing Krishna's dance on the serpent Kalinga, and His lifting of the Govardhana Mountain.
If their feet were agile with the jathis, their faces showed myriad expressions. They concluded their programme with a tillana in Paras.
With aesthetically designed choreography by guru P. Ramadevi, nattuvangam by Renuka Prasad, vocal support by Swetha Ravindran, flute by Venkatesh and mridangam by Sridhar Sharma, Nivedta and Harini stole the hearts of the spectators.
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